RT @kdjCBR: "No idea is a silly idea. In fact, sometimes we like the silly ideas" days #PhilRushby of @hotelhotelblog at a fab @FutureCBR e…
Help redefine the great australian dream with @Assemble_AUS's #smallfootprintlivingsurvey http://t.co/fJmZI7JdjY #urbanism #hotelhotel
RT @FutureCBR: Phill Rushby of @hotelhotelblog will talk of how to create sense of 'place' like @newacton http://t.co/gyGdPFlvHC http://t.…
RT @AssemblePapers: Shape your city: take @Assemble_AUS's #smallfootprintlivingsurvey (plus win a trip to our mates @hotelhotelblog) https:…
WHAT ARE WE TALKING ABOUT
Have not you yourselves sensed a difference in the light that suffuses such a room, a rare tranquility not found in ordinary light?
― Jun'ichirō Tanizaki
Have you never felt a sort of fear in the face of the ageless, a fear that in that room you might lose all consciousness of the passage of time, that untold years might pass and upon emerging you should find you had grown old and gray?
Excerpt from Jun’ichirō Tanizaki’s ‘In Praise of Shadows’.
Image of Original room number 241 by Ross Honeysett.
Lee Grant is many things. Photographer, mother, businesswoman, philosopher, horticulturalist, Korean-Australian, anthropologist… Resoundingly, one of the words continuously used to describe Lee is honest. She will tell you what she thinks. Avoid eye contact and back away slowly if you aren’t up for the truth.
Helen and Dennis Smith supply Monster kitchen and bar with free range eggs. Their chickens live on their property 33km north of Temora in the Riverina region of NSW, around 200km from Canberra. Their 3000 hens strut and peck their way around their large property of wild grasses and old gum trees in the shadow of a mountain ridge, under the protective supervision of two very inquisitive and energetic cattle dogs.
A documentation of socialist industrial products and workers, a young Ai Weiwei, Mark Manders’ process, and nomadic symbols.
Double Bound Economies
‘Doppelte Okonomien’ (Double Bound Economies) archived commercial photographer Reinhard Mende, who was based in the East Germany from the 1960s to the 1980s. Mende photographed the Leipzig Trade Fair and the showcase of socialist industrial products for visitors from Western countries. The book’s title refers to the doubling of capitalist and socialist economies, suggesting how we may come to approach this unique body of work today. Despite being commissioned to shoot the products, people, especially workers are strongly featured throughout.
A young Ai Weiwei’s life and practice in New York throughout the 80s and early 90s. In the decade he lived there, Ai took over 10,000 black and white photographs, which had been left untouched until he selected 277 of them to be showed in 2010. These photographs now populate ‘Ai Weiwei: New York 1983-1993′, and capture some of city’s key social and cultural upheavals and moments such as the Tompkins Square riots.
An extensive volume of monochrome documentation photographs published to coincide with celebrated Dutch artist Mark Manders’ exhibition at Collezione Maramotti centering on the installation work ‘Isolated Bathroom / Composition with Four Colors’. The images – which include behind-the-scenes photographs and works in progress – assume various vantages on Manders’ practice, teasing out the semantic and spacial elements and hierarchies that have informed his work since 1986.
‘Wandering Off’ details the works of Antwerp-based artist Lara Dhondt, whose artistic process comprises various stages of documentation. Plotting the location of her public sculptures on Google Maps, the sites of her creations and her photography can be traced via the Internet coordinates as well as physical maps. Dhondt’s approach to working is both methodical and creative, the art itself occurring exclusively in outdoor, public spaces, and her process of documentation stylistically similar to movements such as land art and conceptual art of the late 60s and 70s. Constructed based on the dimensions of personal space, these demarcations and sculptures assume the form of nomadic symbols and serve as a monument to temporariness.
Meet our man Amos Enders-Moje. He is an obsessive collector of used bottles, old school TVs and, strangely, concrete cores. He looks like a mix between Brad Pitt and John Corbett (from his carpenter/’Sex in the City’ days but without the belly).